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WebIago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not WebIt marks a turning point: Othello has fallen victim to the same racist logic (or illogic) that rules the thinking of people such as Iago and Roderigo. Like those men, Othello wants WebThe essay topics in this lesson will help students analyze Iago as a character. Course views Iago Himself To understand Iago, it is important to think about his motivations, WebOthello: an Analysis of Iago. Shakespeare’s Othello is a tale of misplaced jealousy, deception, and tragedy. Iago, the main antagonist of the play, masterfully weaves a plan WebThe play Othello by William Shakespeare showcases the unique characters of Othello and Iago. Othello commences with Iago: Othello’s general informing the audience of his ... read more
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Iago And Ambition In Othello. Iago And Othello Essay Words 3 Pages. Iago And Othello Essay. Iago Vs Othello Words 3 Pages. In the speech he dwells on body parts — eyes, hands, lips, blood — and the 'act of sport' 2. the supposed sexual activity of Desdemona and Cassio. Iago portrays desire in low terms, with reductive language: Desdemona's adoration is 'violence', Othello's wooing tales are 'bragging Iago's base reduction figures sex as hunger: 'her eye must be fed' 2. Like a devouring sexual animal, Desdemona will need an attractive man 'to give satiety a fresh appetite' 2. In this image, Iago suggests gagging and retching, which, along with the concept of 'abused' 'tenderness', has connotations of disgust with oral sex.
Food imagery abounds. Retorting, 'The wine she drinks is made of grapes' 2. The image is reversed later in the play, when Emilia comments that men 'are all but stomachs, and we all but food' 3. Iago's food imagery contains sexual innuendo: 'Blest fig's end! This is a contemporary obscenity, figs being associated with the female vulva. But Iago's salacious language is just that — words. There is no evidence for adultery except that Cassio is 'a slipper and a subtle knave' 2. Nothing has actually happened. Roderigo dismisses it as 'courtesy' but admits he 'did' see it. Yet earlier Iago tells us it is Cassio who 'takes her by the palm' 2.
Through Iago's language, Roderigo is duped into mis-seeing — a trick Othello will later fall for. Iago's speech is in prose , like many of his asides. With Roderigo's extended silence, it too feels like an extended aside. The contrast is stark between Othello's stately verse 2. The prose also contrasts with Iago's scene-closing soliloquy 2. Shakespeare uses prose for many reasons: for comic or intimate exchanges, for lowly characters, for convention-defying princes such as Hamlet. Here, Iago's prose feels like a loosening, like a man undoing his belt a notch. Engaged earlier in complex word-play with Cassio and Desdemona, he can now relax into an easier deception: false intimacy with Roderigo. The prose allows Iago to produce a persuasive outpouring and release repetitious piles of images designed to bury Roderigo's weak objections.
He only manages three 2. It also provides a closing irony to the passage — nothing will be 'well' on Cyprus any more. Iago's power over Roderigo is emphasised through his sentence structure. Repeated imperatives begin the speech: 'Come hither' 2. All are instructions to be quiet and listen, which Roderigo submissively obeys. Having set himself up as Roderigo's instructor, Iago goes on to lecture him through a series of questions, mainly rhetorical. He even draws Roderigo's conclusions for him, using the language of instructive discipline to describe imagined adultery: 'when these mutualities so marshal the way, hard at hand comes the master and main exercise' 2. Iago closes just as he began, with a command to follow instructions: 'watch you tonight; for the command' 2. The circular structure of the speech reinforces his enclosed grip of Roderigo.
Iago is misogynistic. But a historicist reading could examine his depiction of women as a product of his time and culture. The Jacobean view of Venetian women , in particular the idea that they were sexually immoral compounds how credible Roderigo, and Othello, find Iago's portrayal of Desdemona. Jacobean portrayals often reduce women to saints, mothers or whores. Indeed, Iago's argument itself is construed in the language of female reproduction, described as a 'most pregnant and unforced position' 2. The Jacobean ideal of total chastity leaves Desdemona vulnerable to an unforgiving male gaze.
However, such extreme misogyny is the preserve of villains in Jacobean drama, suggesting that they, and Iago, overstep the mark. Iago's envious depiction of Cassio as 'handsome' and 'young', while assigning him his own character traits — 'a knave', 'the mere form of seeming' 2. It has even been suggested that Iago is literally impotent, causing his embittered sexual jealously. It certainly makes Desdemona's retort to Iago earlier in the scene — 'Oh, most lame and impotent conclusion! Alexandra Melville is a writer and educator. She has taught English at sixth form and secondary schools in London, and has created education packs for Years 4—6 for Fuel Theatre. She is currently writing GCSE literature resources for HarperCollins Education. The text in this article is available under the Creative Commons License.
Skip to Content. Back to top. Character analysis: Iago in Othello. Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant I. He is willing to take revenge on anyone—Othello, Desdemona, Cassio, Roderigo, even Emilia—at the slightest provocation and enjoys the pain and damage he causes. He seems almost to wink at the audience as he revels in his own skill. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively.
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By using this site, you agree we can set and use cookies. For more details of these cookies and how to disable them, see our cookie policy. Aside O, you are well tuned now! But I'll set down the pegs that make this music, As honest as I am. In Act 2, Scene 1 of Othello , Iago formulates his plan to drive Othello mad. Shakespeare shifts the action from Venice to Cyprus. A storm has dispersed the Venetian fleet so that Cassio arrives first, anxious for Othello's safety. Desdemona arrives later with Iago and Emilia. The group wait, bantering on the topic of women. In this key passage 2. An illustration of Act Two, Scene 1 of Othello. Iago looks on as Othello and Desdemona greet each other. Iago makes it clear that his object is discord. In this manner, we are colluders, silent witnesses of his evil, failing to intervene.
But sir, you be ruled by me' 2. Iago is portrayed, through Roderigo's compliance, as masterful and persuasive, laying the ground for the ease with which he later poisons Othello's mind. The key theme in the passage is sexual appetite. Iago portrays Desdemona as lustful, desperate to trade Othello for a more refined Cassio. Racial and female stereotypes also dominate. Iago refers to Othello not by his name but as 'the Moor', calling him 'the devil' 2. Iago's misogyny has been plain earlier in the scene and builds here: young women are portrayed as foolish, having an innately sexualised 'nature' 2.
This conflation of honesty with soldierly bluntness disadvantages Desdemona, who can never communicate her honesty in this manner. In the speech he dwells on body parts — eyes, hands, lips, blood — and the 'act of sport' 2. the supposed sexual activity of Desdemona and Cassio. Iago portrays desire in low terms, with reductive language: Desdemona's adoration is 'violence', Othello's wooing tales are 'bragging Iago's base reduction figures sex as hunger: 'her eye must be fed' 2. Like a devouring sexual animal, Desdemona will need an attractive man 'to give satiety a fresh appetite' 2. In this image, Iago suggests gagging and retching, which, along with the concept of 'abused' 'tenderness', has connotations of disgust with oral sex.
Food imagery abounds. Retorting, 'The wine she drinks is made of grapes' 2. The image is reversed later in the play, when Emilia comments that men 'are all but stomachs, and we all but food' 3. Iago's food imagery contains sexual innuendo: 'Blest fig's end! This is a contemporary obscenity, figs being associated with the female vulva. But Iago's salacious language is just that — words. There is no evidence for adultery except that Cassio is 'a slipper and a subtle knave' 2. Nothing has actually happened. Roderigo dismisses it as 'courtesy' but admits he 'did' see it. Yet earlier Iago tells us it is Cassio who 'takes her by the palm' 2. Through Iago's language, Roderigo is duped into mis-seeing — a trick Othello will later fall for.
Iago's speech is in prose , like many of his asides. With Roderigo's extended silence, it too feels like an extended aside. The contrast is stark between Othello's stately verse 2. The prose also contrasts with Iago's scene-closing soliloquy 2. Shakespeare uses prose for many reasons: for comic or intimate exchanges, for lowly characters, for convention-defying princes such as Hamlet. Here, Iago's prose feels like a loosening, like a man undoing his belt a notch. Engaged earlier in complex word-play with Cassio and Desdemona, he can now relax into an easier deception: false intimacy with Roderigo.
The prose allows Iago to produce a persuasive outpouring and release repetitious piles of images designed to bury Roderigo's weak objections. He only manages three 2. It also provides a closing irony to the passage — nothing will be 'well' on Cyprus any more. Iago's power over Roderigo is emphasised through his sentence structure. Repeated imperatives begin the speech: 'Come hither' 2. All are instructions to be quiet and listen, which Roderigo submissively obeys. Having set himself up as Roderigo's instructor, Iago goes on to lecture him through a series of questions, mainly rhetorical.
He even draws Roderigo's conclusions for him, using the language of instructive discipline to describe imagined adultery: 'when these mutualities so marshal the way, hard at hand comes the master and main exercise' 2. Iago closes just as he began, with a command to follow instructions: 'watch you tonight; for the command' 2. The circular structure of the speech reinforces his enclosed grip of Roderigo. Iago is misogynistic. But a historicist reading could examine his depiction of women as a product of his time and culture. The Jacobean view of Venetian women , in particular the idea that they were sexually immoral compounds how credible Roderigo, and Othello, find Iago's portrayal of Desdemona.
Jacobean portrayals often reduce women to saints, mothers or whores. Indeed, Iago's argument itself is construed in the language of female reproduction, described as a 'most pregnant and unforced position' 2. The Jacobean ideal of total chastity leaves Desdemona vulnerable to an unforgiving male gaze. However, such extreme misogyny is the preserve of villains in Jacobean drama, suggesting that they, and Iago, overstep the mark. Iago's envious depiction of Cassio as 'handsome' and 'young', while assigning him his own character traits — 'a knave', 'the mere form of seeming' 2. It has even been suggested that Iago is literally impotent, causing his embittered sexual jealously.
It certainly makes Desdemona's retort to Iago earlier in the scene — 'Oh, most lame and impotent conclusion! Alexandra Melville is a writer and educator. She has taught English at sixth form and secondary schools in London, and has created education packs for Years 4—6 for Fuel Theatre. She is currently writing GCSE literature resources for HarperCollins Education. The text in this article is available under the Creative Commons License. Skip to Content. Back to top. Character analysis: Iago in Othello. Search Our Website Search form submit button. Article written by: Alexandra Melville. Alexandra Melville provides a close reading of the villainous character of Iago in Act 2, Scene 1 of Othello. Key quotation Aside O, you are well tuned now! Boydell's Collection of Prints illustrating Shakespeare's works View images from this item Usage terms Public Domain.
How does Shakespeare present Iago here? Photograph of Conrad Nelson as Iago in Othello at the West Yorkshire Playhouse, View images from this item 1. Iago, in a later scene, holding the handkerchief that will become a vital part of his plan. Themes The key theme in the passage is sexual appetite. Photograph of Hugh Quarshie and Lucian Msamati in Othello , View images from this item 1. Dramatic form Iago's speech is in prose , like many of his asides. Structure Iago's power over Roderigo is emphasised through his sentence structure. Critical interpretations of Iago Iago is misogynistic. Written by Alexandra Melville. Discovering Literature: 20th century.
Explore the ways in which key 20th-century authors experimented with new forms and themes to capture the fast-changing world around them. Find out more. Multiculturalism in Shakespeare's plays. Othello: the role that entices and enrages actors of all skin colours. Post-colonial reading of The Tempest. Playing Othello. Critical approaches to Othello. Strangers in the city: the cosmopolitan nature of 16th-century Venice. The Tempest and the literature of wonder.
Othello Iago Essay,Othello: Iago the Outsider
WebIt marks a turning point: Othello has fallen victim to the same racist logic (or illogic) that rules the thinking of people such as Iago and Roderigo. Like those men, Othello wants WebOthello is a prime example since he escaped slavery, worked his way up through the ranks, and became a general. Iago despises Othello because he did not give him the WebThe play Othello by William Shakespeare showcases the unique characters of Othello and Iago. Othello commences with Iago: Othello’s general informing the audience of his WebNov 12, · Therefore, it can be considered that the dynamics between Othello and Iago as military men are rather complex While Othello represents the very idea of military WebIago is able to take the handkerchief from Emilia and know that he can deflect her questions; he is able to tell Othello of the handkerchief and know that Othello will not WebThe essay topics in this lesson will help students analyze Iago as a character. Course views Iago Himself To understand Iago, it is important to think about his motivations, ... read more
In the play, Iago is the destructive personage yet not all characters have known about his plots, he has been the reason of the demolition of Othello whom thinks himself to be an outsider to Venice. Not sure if you can write a paper on Iago and Othello Relationships by yourself? To be more exact, it is considered that there might be erotic tension between Othello and Iago:. Iago refers to Othello not by his name but as 'the Moor', calling him 'the devil' 2. However, he has managed to bring Othello down to this base language. Throughout the play, characters have described Iago as an honest and trustworthy man, while not knowing the real him. But in Act IV, he crumbles.
Iago Vs Othello. In contrast to Othello, othello essays iago, Iago is portrayed as a selfish and insensitive husband who could not care less of what his wife thinks or needs. Billing Address. Honest Iago of Shakespeare's Othello Essay Words 4 Pages. How does Emilia help Iago? In addition, both ago and Emilia are constantly snapping at each other, which makes othello essays iago relationships even more down-to-earth compared to the spiritual bonds between Othello and Desdemona:. Theme Of Iago In Othello Words 6 Pages.
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